The “why” for the design of this bass was a simple one: explore the sounds of semi-hollow instruments under a deconstructivist kind of approach. Let's dig a little deep into it!
In its basic form, semi-hollow instruments have a center solid core and the sides are hollow allowing them to vibrate similarly to an acoustic instrument.
The deco bass design principle was to have a solid center with the rest of the body facilitating greater levels of vibration when compared to solid bodies, and to emphasize this we went with a bolt-on-neck option.
The main body part, the wings, thicken in the center and get thinner as we reach the tips, with both being carved from the top and back.
The second key component in the design in the connection plate. This piece bolts onto the wings and is where the neck attaches to. Beside the obvious aesthetic reasons behind this design option, in practical terms it allows for a more “unstable” build, meaning that the thinner profile of this piece in conjunction with the fact that it is bolted on both edge connections will allow for a higher wood vibration than a simple solid body.
There are two types of wood in the body parts, wengue and swamp ash, which will make for an unique mix. The pickups are mounted into the ash wings part.
Finally, in the body section, we have the “wengue wedges” and these parts are to act as “vibrations controllers”, just like the hollow sections of a semi-hollow instrument do.
The neck is kept to a minimal impact visual. As the body has a great visual impact. We basically had two options: exacerbate the visual statement or balance it. I choose the latter and I think that I achieved a good balanced piece in doing so.
In the woods aspects the neck is a piece of Sucupira reclaimed from old doors, with an ebony fretboard.